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DISTINGUISHED AMERICAN ARTISTS 


JAMES McNEILL WHISTLER 


JAMES MCNEILL WHISTLER 
Pennell Collection, Library of Congress, Washington 


DISTINGUISHED 
AMERICAN ARTISTS 


JAMES 
McNEILL 
WHISTLER 


Compiled by 
INCL ELA NIEL 
eves Pl B-DART 


With an introduction by 
Joseph & Elizabeth Robbins Pennell 


NEW YORK 
FREDERICK A. STOKES COMPANY 
PUBLISHERS 


FREDERICK A. STOKES COMPA 


All rights reserved 


Printed in the United st : 


JAMES McNEILL WHISTLER 
AMES McNEILL WHISTLER is the greatest of 


all American artists, the greatest of all artists of his 

time. His greatness is not to be accounted for by 
environment or inheritance. He was born in America 
at a period when art was an alien in the country; he came 
of a family of soldiers; he was educated in the Military 
Academy at West Point; he began his career in a Govern- 
ment office at Washington ;—far from those influences 
known to have made some men artists in spite of them- 
selves. He is, therefore, the most splendid proof of his 
true belief that “art happens.” 

He had at least the advantage of a training in Paris, 
though it was begun at an age when the average student 
leaves the schools, and, according to his critics, he profited 
little by it. Poynter, the industrious Briton, called him 
the Idle Yankee Apprentice, and this still lingers, though 
Poynter is near forgotten. But more came of his idleness 
than of most men’s industry, and his early paintings and 
etchings were the heralds of his greatness—his genius—for 
from the beginning he was absorbed in the pursuit of 
beauty. He was an artist born and noc a ready-made 
painter. 

In the prevailing idea of him today he was not only 
the Idle Apprentice but the rebel, posing in his work as 
the leader of revolt and the enemy of tradition, doing 
strange things to call attention to himself, as he later did, 
knowing if he did not he would be ignored or reviled— 
then none too mean not to revile him, now none to 

Vv 


grand not to toady to him. But there never was an artist 
whose belief in tradition was so unwavering, whose re- 
spect for the art of the past was so strong, whose love for 
the beautiful was so deep. He would have had no use for 
the so-called Modernists who are concerned not with art 
but their escape from it, because otherwise they are 
failures. He would have had no sympathy with men who, 
disdaining the beauty created by artists through the ages, 
attempt self-consciously to return to the gropings of the 
savage seeking to express what he sees with neither knowl- 
edge nor tools—only these latter-day prophets are not 
savages but incompetents. Whistler’s ambition was “to 
carry on,” and if he was not understood by the people in 
whose midst he lived, the fault was theirs, and theirs the 
loss. It was a grief to him that he felt bitterly. That 
was why he laughed, and then they understood him less 
than ever. 

It was not to escape from his responsibility as an artist, 
not notoriety, not eccentricity he strove for, but beauty 
always—beauty of design, beauty of line, beauty of colour, 
beauty of handling, beauty of surface—‘the one skin all 
over it” that delighted him. Not even when he wrote 
his joyous, cruel letters to the press, or his Art and Art 
Critics, and The Ten o’Clock, was he for a moment 
forgetful of the beauty which he gave to everything he 
touched, and his Gentle Art is not only one of the few 
great books on art, but a masterpiece of the art of writing. 
The artists, whether of Paris or Tokio, of Spain or Hol- 
land, or even England, who could teach him anything of 
the beauty he sought were his masters. It is easy to point 
to this inspiration and that in his prints and paintings, to 
the debt he owed at the start to Courbet and Fantin, then 
to Hiroshige and Hokusai at the foot of Fusiyama, 

vel 


easy to trace the influence of the greatest of all, the 
Master at Madrid, the first in his portraits to make 
men stand upon their feet and to fill his canvasses with 
atmosphere and light, or his interest in “subject pictures” 
when painted by Terborch or ‘Titian. Nobody was 
readier than Whistler to accept the truths these men had 
taught him and the technical methods they had solved long 
before. ‘There is the story of him at the very end, old, 
recovering from a serious illness, standing on a chair in 
the gallery at Haarlem that he might see and feel the 
wonderful brushwork of Franz Hals and try to find out 
how it was done. But always, whatever debt can be dis- 
covered, whatever influence traced to the past, he was 
himself, unmistakable, untiring in his pursuit of beauty, 
constant in his belief that beauty is the end of art, not 
“emotions entirely foreign to it’—the faith for which he 
was ridiculed by the popular Victorian painters of anec- 
dotes, classical, scriptural and domestic, by the up-to-date 
Americans of today, Victorians too in the valour of their 
ignorance. He was a realist in his reliance upon Nature; 
but from Nature it was his right as artist to pick and 
choose and, spurning the ugly and the vulgar, he chose 
the beautiful, the exquisite, translating all into “the 
painter’s poetry.” 

Here is the reason of his greatness. And if we say 
he was the greatest artist of his time, it is because he 
succeeded absolutely in his lifelong search, not only in 
one, but in many mediums. Paint alone could not satisfy 
him. There were things he could say better in other 
ways and he was not content until he had tried and 
mastered them all. He was not a lop-sided painter but 
a many-sided artist. 

In the technique of etching he had been trained in the 

vil 


Coast Survey office. No sooner was he in Paris than 
he used this training to begin that long series of etchings 
which place him above Rembrandt—yes, above Rem- 
brandt, as we know, and the world has begun to know. 
Never has the etched line expressed form with such 
mastery. The line is vital, direct, the effect obtained 
with the utmost rightness. But if Whistler was ever 
the same in his concern with beauty, he was never man- 
nered. He might say that there was no change in his 
work, that the last did not differ from the first. But 
there was growth—the elaboration of the French Set 
through the Thames Set, developing into the Venice Set, 
and then the austere simplicity of the latest again in 
France. Always, however, in them all was the same 
vital, expressive line. 

He would admit of no change in his painting either, 
no difference from first to last, but again growth—growth 
through the period when Courbet fired his enthusiasm and 
he painted Alone with the Tide, At the Piano, and 
The Music Room, and showed them, and at once they 
made for him the reputation which has been rapidly 
increasing ever since; growth through the period when 
Japan held him under its spell, and no loveliness was 
to him as the loveliness of night, the Japanese Pictures, 
with their wealth of beautiful detail, leading to the 
Nocturnes, more eloquent in their simplicity, and to 
the Six Projects, never carried out in the large deco- 
rative scheme for which they were the motives; growth 
through the period when Velasquez claimed his allegiance 
and he, too, made his men and women stand upon their 
feet, in air and light. But always and in every period, 
Whistler is Whistler himself and no one else, always 
concerned with beauty, always adapting his technique 

Vill 


to express it in its full perfection, his mark set upon the 
Mother, and Carlyle, the Miss Alexander, and Rosa 
Corder of his young Chelsea days, no less than upon the 
Lady Meux, Sarasate, and Yellow Buskin of his joyous 
return from Venice, or the Little Rose, and Master Smith 
of Lyme Regis, painted in the sad twilight of his later 
years. 

And so with every other medium. He experimented 
in lithography and with his first experiments mastered 
the medium as triumphantly as in the last, beauty ever 
the aim and the fulfillment of his many portraits as of 
his impressions of architecture and the ‘Thames he loved. 
He turned to water-colour and the simplest washes again 
yielded beauty, whether of the little sun-drenched room, 
or the rain-washed English skies, or the red roofs nestling 
in the sand dunes of Holland. He took up pastel at the 
darkest moment of his life and, once at work, drawing 
on sheets of tinted paper with a few colours, his own 
most sad misfortunes could not dull his eyes to the vision 
of beauty in Venice, nor stay his hand in the rendering of 
the life around him. 

In his study of Beauty throught every period and in 
every medium, Whistler gained power with the passing 
of the years. Ihe Ists of our degenerate days would 
appropriate “expressionism’’ as their monopoly, certain 
that no artists every sought to express themselves before. 
But Whistler was the true expressionist—even the un- 
impressed and the expressionless have to accept him— 
unceasing in his endeavour to express himself in terms of 
beauty, for to him art and beauty were inseparable. And 
he knew there could be no beauty, no art, without refine- 
ment, without delicacy, without perfection. In his words, 


art is a dainty goddess; also a jealous mistress, demanding 
ix 


the artist’s unswerving devotion, and all the labour of 
his days, her servant and her master. He gave her both 
without reserve. And yet, it was only at the end of his 
life that he felt he was at the beginning of his knowledge 
and his accomplishment. He, who was looked upon by his 
contemporaries as irresponsible and a charlatan in his art, 
was the most thorough, the most hard-working, the 
most persevering of all artists, understanding the truth 
‘ that genius without industry is of no avail. “To the 
revelation of beauty in his art his time and his energies 
were consecrated, and the reward of this consecration was 
the success that endures. 

Only in his own country has the generous recognition, 
the worthy tribute been slow in coming. He is not yet 
in the Hall of Fame among the great American artists, 
of some of whom few ever heard. But the great art and 
the great literature he created honour him more than 
any bust. And today he, like Lincoln, has his monument 
in Washington—in the Library of Congress and the 
Freer Gallery—but few know and fewer care. How- 
ever, as we wrote in our Life of Whistler, ““His name and 
his fame will live forever.” 


J. and EK. Ro Pexwere 
Authors of the “Authorized 
Life of Whistler” and the 
“Whistler Journal.” 


The sixty-four paintings herein reproduced illustrate 
the varied characteristics of this artist's work. 


LA MERE GERARD 
Owned by A. Edward Newton, Esq. 


PorTRAIT oF LUKE A. IoNIDES 
Owned by the Estate of Luke A. Ionides 


THE Music Room 


Owned by Smithsonian Institution, Freer Gallery of Art, 
Washington, D. C. 


SadayIvy Jap avvysnviy “yYeo‘d ayn fo Ksazsnog7 
ANVILIYG JO ISVOD AH], 


LA PRINCESSE DU PAYS DE LA PORCELAINE 


Owned by Smithsonian Institution, Freer Gallery of Art, 
Washington, D. C. 


‘bsg ‘sung punwpq 4q pauago 
ONVId AHL LV 


THE WHire Giri 
(Symphony in White, No. I) 
Owned by Harris Whittemore, Esq. 


THe LITTLE WHITE GIRL 
(Symphony in White, No. II) 


THE THAMES IN ICE 


Owned by Smithsonian Institution, Freer Gallery of Art, 
Washington, D. C. 


W APPING 


Owned by Mrs. 


Hutton 


"09 yorulddiy -g ‘f fo Ksazsnoy 
‘bsq ‘9d0d ‘PF ‘Pp «<q paumo 
ONILNIVd FAVAA ANT AHL AAATIS aNV FATG 


Tauusd *f RW A AQ ..“1aVsSTYM JO IFT YT, Wor 


940d “FP ‘*R fO aynisy ay, XQ paunoc 
YALSNIW ISAM GIO 40 LSV]T AHL 


ohm, 


THE BALCONY 
(Variations in Flesh Color and Green) . 
Owned by Smithsonian Institution, Freer Gallery of Art, 
; Washington, D. C. 


‘bs ‘sung punwpy «q paungo 
III (ON “ALIHM NI ANOHAWAS 


2) °q ‘uowurysv yy 
‘Qty fo Asap dAaasgq “wMornqysuy UviUosYyyLiUS LQ paUumg 


NAIMIS GIO) AHL, 


Diz LANGE LEZEN, oF THE SIX MARKS 
(Purple and Rose) 
Owned by the John G. Johnson Collection, Philadelphva, 


NoctrURNE-—BLUE AND GOLD—V ALPARAISO 
Owned by Smithsonian Institution, Freer Gallery of Art, 
Washingion, D. C. 


‘OD & sa1poouy “PW Ksajyanoy 
YsOX MIN U014IAIIOD AYIA. 241 Kq paunoE 
Nva9Q FHL 


TLER IN His Srupio 


S) 


WHI 


wned by 


t Institute 


go Ar 


ica 


the Ch 


O 


‘9° ‘uopburysv YY 
‘q4p fO K4a]D Adds “UO’NIIISUT UDIUOSYPIWMS LKQ PaUuMmGE 


STaI) AIWHJ—ANOHdUWAS ALIHAA FHL 


Op BATTERSEA BRIDGE 
Owned by the Tate Gallery, London 


‘0D & 4a/paouy “Py sazinoy 
‘Ds ‘asouaqqy 44 SidAVFT XQ pIUReE 
a10©) GNV Adat) NI LNAWAONVANY ANANLOON 


Stuvd ‘ksapjvy GanquiaxnT fq paumo 
YAHLOWY SYALNIVG AHL AO LIVYLYOd 


PorTRAIT OF THOMAS CARLYLE 
Owned by the Glasgow Art Gallery 


PORTRAIT OF Miss ALEXANDER 
(Harmony in Grey and Green) 
Owned by the Tate Gallery, London 


PORTRAIT OF THE ARTIST 
Courtesy of J. B. Lippincott Co. 


PortrAIT OF F. R. LEYLAND 
Owned by 
Smithsonian Institution, 
Freer Gallery of Art, 

Washington, D. C. - 


Mrs. F. R. LEYLAND 


(Symphony in Flesh Color and Pink) 
Owned by the Frick Collection, New York 


PortTrAIT OF Miss KINSEILA 
Owned by Miss Kinsella 
Courtesy of J. B. Lippincott Co. 


THe FALLING ROCKET 
(Nocturne in Black and Gold) 
Owned by Mrs. Samuel Untermeyer 
Courtesy of J. B. Lippincott Co. 


RosA CORDER 
Owned by the Frick Collection, New York 
Courtesy M. Knoedler & Co. 


| 
THE Fur JACKET 
Owned by the Worcester Art Museum 
Coutiésy of the Macbeth Gallery 


wnasnpy uvgyofosayy ayy tq paung 
@ ON SNadiv5) ANYOWAY) 


PortTRAIT OF PABLO SARASATE 
Oruned by the Carnegie Institute, Pittsburgh 


THE LApY WITH THE YELLOW BUSKIN 
(Lady Archibald Campbell) 
Owned by the Pennsylvania Museum, Willstack Collection, Philadelphia 


LApY ARCHIBALD CAMPBELL AS ORLANDO 
Owned by the Ralston Gallery 


Sik HENry IrvinG As PHiILie lI OF SPAIN 
Owned by the Metropolitan Museum 


THEODORE DURET 
Owned by the Metropolitan Museum 


CoNNIE GILCHRIST 
Owned by the Metropohtan Museum 


Photograph by Katherine E. McClellan 


Portrait oF Mrs. LEwis JARVIS 
Owned by the Hillyer Art Gallery, Smith College 
Courtesy M. Knoedler & Co. 


RosE AND GOLD 
(Lady Sophie of Soho) 
Owned by Smithsonian Institution, Freer Gallery of Art, 
Washington, D. C. 


DAUGHTER OF THE CONCIERGE 
Owned by Theodore T. Ellis, Esq. 
Courtesy of the Macbeth Gallery 


°) °q ‘uvowurysyo yy 
‘q4p fo f4a1ID5 sad4q ‘UO1NJYSUT UDIWOSYIMS NG paUNYG 
auvnoOSg avoIVAVaL 


MARINE 
Owned by the Cincinnati Museum 


Miss LittiANn WOAKES 
Owned by the Phillip Memorial Gallery, Washington, D. 
Courtesy M. Knoedler & Co. 


BLEU ET VIOLET 
(La Belle de Jour) 
Courtesy M. Knoedler & Co, 


THE WHitTeE LApy 
Owned by John F. Braun, Esq. 
Courtesy of the C. W. Kraushaar Art Galleries 


L’A MERICAINE 
Owned by Smithsonian Institution, Freer Gallery of Art, 
Washington, D. C. 


I.A NAPOLITAINE ROSE ET OR 
(Madam Carmen) 
Owned by George H. Webster, Esq. 
Courtesy M. Knoedler & Co. 


Epwarp G. KENNEDY 
Owned by the Metropolitan Museum 


VIOLINIST 
Courtesy of the Macbeth Gallery 


Mrs. WALTER SICKERT 
Owned by Mr. Haro'd Somers, Brooklyn, N. Y. 
Courtesy M. Knoedler & Co. 


THE Master SMITH oF LYNE REGIS 
Owned by the Museum of Fine Arts, Boston 


Le CoMTE RoBERT 
Owned by the Frick Collection, New York 
Courtesy M. Knoedler & Co. 


GIRL IN BLACK 


(Pouting Tom) 
Owned by H. H. Benidict, New York City 
Courtesy M. Knoedler & Co. 


LittLeE Rose or LYNE REGIS 
Owned by the Museum of Fine Arts, Boston 


LADY IN GRAY 
Owned by the Metropolitan Museum 


Pretty NELLIE BROWN 
Owned by Frank Lusk Babbott, Esq. 
Courtesy of Moffat, Yard & Co, 


Tue BLUE BONNET 
Owned by Mrs. Herbert L. Pratt 
Courtesy of the Macbeth Gallery 


PorTRAIT. STUDY 


THe Winow 
Owned by the Worcester Art Museum 
Courtesy of the Macbeth Gallery 


PORTRAIT OF RICHARD CANFIELD 


Owned by the Cincinnati Art Museum Association 
Courtesy M. Knoedler & Co. 


WHISTLER, JAMES McNerLt, Painter and etcher, born at Lowell, Mass., 
July 10, 1834, died 1903. Studied in Paris. 


MEMBER OF 


LEGION oF Honor, Chevalier, 1889, Officer, 1892 

SoctirTE NA1IONAL DES bEAUX-ARTS 

RoyaLt ACADEMIE oF St. LuKE, Rome—Hon. Member 

ORDER OF THE CROWN OF ITALY—Commander 

RKoyaL ACADEMY OF BAvARIA—Hon. Member 

ORDER OF ST. MICHAEL, Bavaria—Chevalier 

RoyAaL ACADEMY OF DrRESDEN—Hon. Member 

RoyaL Scottish AcADEMy—Hon. Member 

INTERNATIONAL SOCIETY OF SCULPTORS, PAINTERS AND GRAVERS—First 
President 

LL.D. oF GLascow UNIVERSITY. 


AWARDS 


Portrait of Mother admitted under protest (1872) to Royal Academy Exhi- 
bition. Exhibited (1884) at Paris Salon, awarded Medal of 3rd Class. 
Bought (1891) by French Government for Luxembourg Gallery. 

Med¢l, Paris, 3rd’ Class, 1883. 

Elected (1886) President of the Society of British Artists. 

Mede Member of Munich Acedemy (1889) and received Cross of Order of 
St. Michzel. 

Grand Prix, Paris, 1900. 

Gold Medal at Paris, Venice, Munich, Amsterdam, Chicago, Philadelphia, 
Antwerp, Dresden, etc. 


REPRESENTED IN 


BROOKLYN MUSEUM. 

CARNEGIE INSTITUTE, PITTSBURGH. 

Cuicaco Art INSTITUTE. 

CINCINNATI MUSEUM. 

FREER GALLERY oF ART, WASHINGTON, D, C. 
THE Frick COLLECTION, NEw YoRK. 

GLASGOW CORPORATION ART GALLERY. 
HaAckLey GALLERY, Muskecon, MIcu. 
Hittver Art GALLERY, SMITH COLLEGE. 

His Mayesty’s CoLLEcTION, WINDSOR. 

JoHN G. JOHNSON COLLECTION, PHILADELPHIA. 
LUXEMBOURG MUSEUM, PARIS. 

METROPOLITAN MusrtuM, NEw York. 
Museum oF FINE Arts, Boston. 

NATIONAL GALLERY, LONDON. 

Ryxs Museum, AMSTERDAM. 

SMITHSONIAN INSTITUTION. 

TATE GALLERY, LONDON. 

Witstuck CoLLecTion, PHILADELPHIA MusrEuM OF ART. 
Worcester Art Museum. 


PUBLISHED MATTER 


American Magazine of Art, New York, 1919, 8°, vol. 10, pp. 201-206. 
Whistler—Note in an Exhibition of Whistleriana—Albert E. Gallatin. 


ARRANGEMENT IN PINK AND PURPLE 
Owned by the Cincinnati Museum 


Stupy IN RosE AND BRowN 
Owned by the Haekley Gallery, Muskegon, Mich. 
Courtesy of the Macbeth Gallery 


Kunst u. Kistler, Berlin, 1905, Jahrg. 3, pp. 445-466. Whistler.—Harry 
Graf Kessler. 

Kunst u. Kiinstler, Berlin, 1903, Jahrg. 1, port. 1, pp. 464-468. Whistler.— 
Oswald Sickert. 

Kunstler und Kritiker, Berlin, 1908, Jahrg. 6, pp. 377-380. Glossen von 
McNeill Whistler. 

J. Lane Co., 1912, 4 p.1. (i) viii-x, 49 p., ill., 18 pl., 3 port. Whistler’s 
Pastels and Other Modern Profiies—Aibert E. Gallatin. 

Les ett Paris, 1903, no. 21 (Sept.), pp. 22-32. Whistler—Arséne Alex- 
ander. 

Les Lettres et les Arts, Paris, 1888, 4°, amee 3, tome 1, pp. 215-226. Whis- 
tler et son ceuvre.—Théodore Duret. 

Umebeelippincorns Co. Philadelphia, 16917, 135 p., 20 pl., 12 port., 4°. 
Whistler.—-Théeodore Duret. 

Jameel eppincoi Co. Philadelphia, 1903, 296 p., 12~‘pl., 1 port., 8°. 
Recollections and Impressions of James McNeill Whistler —Arthur 
Jerome Eddy. 

Lippincott Co., 1921, xxi, 339 p., 8°. The Whistler Journal.—Elizabeth 
Robins and Joseph Penne.l, authors of The Authorized Life of James 
McNeill Whistler. 

Literary Collector, New York, 1900-1901. Whistler—Notes towards a Bib- 
liography.—Albert E. Gallatin. 

Literary Collector, New York, vol. 1, no. 385. Whistler—Notes Towards a 
Bibliography.—Albert E. Gallatin. 

Little Jour., East Aurora, 1902, vol. 2, pp. 131-158.—Elbert Hubbard. 

London, 1910, J. Long. Echoes of Whistler—Louis Charles Alexander. 

Macmillan Co., 1904, xxvi, 153, 114 pl. (part col’d), 19 port. (3 col’d, incl. 
front.), 4°. Whistler as I Knew Him.—Mortimer Menpes. 

Magazine of Art, 1903, N. S. V. 1, pp. 577-580, 1 pl. Whistler: Personal 
Recollections.—Val Prinsep. 

Magazine of Art, London, 1903, N. S. V. 1, pp. 580-584; N. S. V. 2 (Nov., 
1903), pp. 8-16. Whist!er: The Man and the Artist —M. H. Spielmenn. 

M. F. Mansfield & Co., New York, 1901, 70 p., 4 pl., 3 port. 8°. Whistler, 
the Man and His Work. W. G. Bowdoin. 

Masters in Art, Boston, 1907, vol. 8 (pt. 96), pp. 23-42, 8°. James McNeill 
Whistler. 

E. May, Paris. James McNeill Whistler, The Baronet and the Butterfly. 

Metropolitan Magazine, New York, 1904, vol. 20, pp. 728-733. Whistler 
Writing —Max Beerbohm. 

Metropolitan Magazine, New York, i910, vol. 31, pp. 769-776, 8°. The 
Whistler I Knew.—Harper Pennington. 

Metropolitan Museum of Art, New York, 1910, xxv, 44 pl., 1 port., 8°. Paint- 
ings—Oil and Pastel. rea Ae Whistler. 

Moffat, Yard & Co., 1907, 8 GP43025p-) 2raple rosport. «4-4 Lhe 
Works of Whistler, a ee eR sabetli Luther Cary. 

Munsey’s Magazine, New York, 1906, vol. 36, pp. 3-20. Whistler from 
Within.—Christian Brinton. 

Nation, New York, 1904, vol. 18, pp. 167-169. The Whistler Memorial Exhi- 
bition Kenyon Cox. 

Nation, vol. 80, pp. 206-208, 243-245. The Whistler Exhibition.—N. N, 

Nation, vol. 77, pp. 149-151. Whistler—N. N. 

Nineteenth Century After, London, 1904, vol. 55, pp. 665-675. The Place of 
Whistler ——Frederick Wedmore. 

Nord. u. Siid., Berlin, 1909, vol. 130, pp. 31-40, 8°, 1 pl. Whistler—Hans 
Rosenhagen. 

North American Review, vol. 177, pp. 378-384. Whistler.—Joseph Pennell. 

N.Y. State Library, Bibliography, no. 1, pp. 1-16. Whistler—Walter Green- 
wood Forsyth and J. L. Harrison. 

Nuova. antologia Roma, 1909, ser. 5, vol. 140, pp. 37-54, 8°. Whistler.— 
Romualdo Pantini. 

Pall Mall Magazine, vol. 31, pp. 404-417. Whistler.—Wilfred Meynell. 


Sir I. Pitman & Sons, Ltd., 1906, xvii, 222 p., front. (port.) 21 em. 
Whistler and Others.—Frederick Wedmore. 

Procés Célébres, vol. 7, pp. 400-429, 433-441. Du peintre Whistler et de 
Lady Eden.—Lés Demélés. 

G. P. Putnam’s Sons, New York, 1923, 340 p., 8°. The Gentle Art of 
Making Enemies.—James McNeill Whistler. 

The Reader, New York, 1903, vol. 2, pp. 387-390. The Gentler Side of 
Mr. Whist!er.—Earl Stetson Crawford. 

Rev. polit. & litér. sér. 4, vol. 20, pp. 440-444. James Whistler et le mys- 
tére dans la péinture-—Camille Mauclair, 

Revista latino Americana, vol. 1, pp. 128-131. James McNeill Whistler, 1 
port., vi, pp. 128-131. 

G. Richards, Lid., London; 1to11, 5 p. 1 isiedexiee sop sep ompoL. 
16°. Whistler: An Estimate and a Biography.—Frank Rutter. 

W. peel, London, 1893, 3 p. l|., 248 p., 12°. Modern Painting.—George 

oore. 

Charles Scribner’s Sons, 1913, Vili, 445 p., 8°. Whistler—Art and Common 
Sense.—Royal Cortissoz. f 

C. Scribner's Sons, 1919, X, 270 p., 24 pl., 8°. American Painting and Its 
Tradition—John Char'es Van Dyke. 

Scrip, New York, 1906, 8°, vol. 1, pp. 312-326. French Impressions of 
Whistler’s Art.—Elisabeth Luther Cary. 

Scrip, New York, 1906, 8°, vol. 2, pp. 45-54. Whistler’s Characterizations.— 
Elisabeth Luther Cary. 

Siegle, Hill & Co., London, 1910, 83 p., front. (port.) plates, 16°. (The 
en series of Art Monographs, No. 12.) Whistler.—Hans Wolfgang 
inger. 

Whistler, James Abbott McNeill, 1834-1903. ‘‘Ten O’clock,” a lecture, 
Portland, Me., T. B. Mosher, 1920, xii, 64 p., 1 1., front. (port.) pl., 
fold. facsim. 24 em. 

Whistler, Paris. 1894, 2d ed., 12°.—J. K. Huysmans. 

Whistler, In His: The Pathos of Distance, New York, 1913, 12°, pp. 103- 
124.—James Huneker. 

Ztsch. f. bildende Kunst, n.f., Leipsig, 1904, n.f., vol. 15, pp. 231-236. 
Whistler.—Théodore Duret. 

Die eset Berlin, 1903, Jahrg. 11, vol. 43, pp. 286-288. Julius Meier- 

raese. 


ane rig added Review of Reviews, vol. 28, pp. 173-176. Whistler.—Ernst 

naufft. 

Architekt, Wien, 1916-1918, 8°, Jahrg. 21, pp. 53-56. Meine Erlebnisse mit 
James McNeill Whistler ae oo Jahre 1898.—Josef Engelhart. 

Art in America, New_York, 19 4°, vol. 1, pp. 151-158. Whistler, the 
Self-Portraits in Oil. ether oh Se allatin: 

Art Journal, vol. 68, pp. 193-195, 237-239. The Whistler Dynasty at Suf- 
folk Street.—A. Ludovici. 

Art Journal, London, 1903, pp. 265-268. Whistler, Some Personal Recollec- 
tions—D. Croal Thomson. . 

Art World, New York, 1917, vol. 3, pp. 12-13, f.°. Whistler and His Influ- 
ence.—George B. Rose. 

Arts, New York, Jan., 1921, vol. 1, p. 49, 4°. Is It a Whistler? 

Atlantic Monthly, Boston, 1903, vol. 92, pp. 826-838. Whistler—Royal Cor- 
tissoz. 

Atlantic Monthly, Boston, April, 1921. Whistler —Gamaliel Bradford. 

The Baker & Taylor Co., New York, 1908. Whistler, Modern Artists.— 
Christon Brinton. 

Belgium Internat. Studio, vol. 23, pp. 7-12. Whistler—Octave Maus. 

G. Bell & Sons, London, 1911, x, 277 p., 12°. William Morris to Whistler. 
—Walter Crane. 

G. Bell & Sons, London, 1903, xx, 127, [1] p. col. front., plates (part col.), 
ports. 23% em. The Art of Whistler—Thomas Robert Way. An 
appreciation by T. R. Way and G. R. Dennis. 

Bergamo, 1921, vol. 54. pp. 81-82, 4°. Le acqueforti di J. M. N. Whistler 
Emporium.—Romualdo Pantini. 

Bibliophile Society, Boston, 1913, 1 1., 13 fac., f.°. Mr. Whistler’s Lecture 
on Art.—Algernon Charles Swinburne. 

Booklovers’ Magazine, vol. 6, pp. 14-19, Edinburgh, 1905. Whistler.—T. R. 
Way and G. R. Dennis. 

Bookman, New York, 1903, vol. 18, pp. 69-70. Whistler and Swinburne.—- 
Gardner C. Teall. 

Bookman, London, 1912, vol. 43, pp. 19-30, 2 pl. The Triumph of Whistler. 
—Joseph Pennell. 

Book News Monthly, Philadelphia, 1912, vol. 30, p. 634-638, 8°. Whistler’s 
West Point Drawings.—Day Allen Wil'ey. 

Brush and Pencil, vo'. 13, pp. 436-449. The Whistler Memorial Exhibition. 
—Frederick W. Coburn. 

Brush and Pencil, vol. 12, p». 334-359. Whistler, the Man, as Told in 
Anecdote.—Frank A. Hadley. 

Brush and Pencil, vol. 12, pp. 319-333. Whistler.—William F. Losee. 

Burlington Mavazine, London, 1905, vol. 6, pd. 430-439. The Whistler Ex- 
hibition.—Bernhard Sickert. 

a) se ceaetne, New York, 1907, vol. 74, pp. roo-111. Whistler.—Otto 

acher. 

Century Magazine. New York. toro, vol. 80, pd. 736-741. Whistler’s First 
Drawings.—Ida C'ifton Hinshaw. 

Century Magazine, New York, 1915, vol. 90, p. 710, 8°. Whist er at West 
Point.—H. M. Lazelle. 

Chamber’s Journal, vol. 6, pp. 691-696. Whistler: A Memory and a Criticism. 
—Harry Quilter. 

ee Paris, 1915, iv, 338 D., 12°. De Watteau a Whist!er.—Camille 

aust 

Chatto & Windus, London, 1878, 17 p. 1 1., 12°. Whistler v. Ruskin, Art 
and Art Critics. —James McNeill Whistler. 

The Collector and Art Critic Co., 1907, 96 8°. Whistler—Notes and 
Footnotes and Other Memoranda. —Albert i. Gallatin. 

Constable & Co., Lid., London, 1910, vol. 1, 1 1., 394 p., 1 1., 8°. Studies in 
Seven Arts.-—Arthur Symons. 

Cornhill Magazine, N. S.V. 15, pp. 760-768. Whistler the Purist. Mortimer 
Menpes. 


ees New York, 1903, vol. 43, pp. 247-254. Whistler’s Boyhood.—A. J 

oor. 

Division of Prints, U. S. Library of Congress. The Joseph and Elizabet 
Robins Pennell Collection of Whistleriana. 

Dodd, Mead & Co., 1923. Whistler: Famous Painters of America.—Joseph 
Walker McSpadden. 

Duckworth & Co., London, 1908, xiv, 299 p., 1 facsim., 14-pl.,, BEepOrty ese 
Whistler—Some Eminent Victorians——Joseph Wil. m Comyns Carr. 

ts di & Co., London, 1908, xvi, 175 p., 16°. Whistler—Bernzrd 

ickert. 

Elsevier’s Geilust Muandsch., vol. 33, pp. 147-155. Wat van Whistler to 
Rotterdam.—Joh. de Meester. 1 port. 

Emile-Paul, fréres, Paris, 1912. Essais et Portraits, 2 p.. 1 Cr) “Serax pee 
Whistler.—kEmile Jacques Blanche. 

Emile-Paul, fréres, Paris, 1919. Propos de peintre d. David 4 Degas, ser. 1 
Whistler, Emile Jacques Blanche. 

Forum, New York, 1914, 8°, vol. 52, pp. 338-355. Whistler.—Artist and 
Bantam.—Frank Harris. 

Fox, Duffield & Co., New York, 1905, 6. pl., 311 p., 12°. Whistler—Old 
Masters and New.—Kenyon Cox. 

Gazette des Beaux-Arts, Paris, 1905, ser. 3, vol. 33, PD. 493-410, 496-511; 
vol. 34, pp. 142-158, 231-246. Whist’er: Artistes Contemporains—Léonce 
Bénédite. 

Gazette des Beaux-Arts, Paris, 1881, période 2, tome 23; Pps aGs=3608 
Whistler—Theodore Duret. 

Gazette des Beaux Arts, Paris, 1903, ser. 3, vol. 30, pp. 381-390. Notes sur 
James McNeill Whist er.—Pascal Forthuny. 

Graphischen Kiinste, Wien, 1904, Jahrg. 27, pp. 53-56. Whistler—Cam bell 
Dodgson. 

Harper Brothers, 1913, 5 pl., 139 p., r 1., 1 port., 24°. Whistler Stories — 
Don Carlos Seitz. 

W. Heinemann, London, 1905, 126 p., 8°. International Society Sculpters, 
Painters and Gravers. Memorial exhibition of James McNeil Whistler. 

William Heinemann, London, 1908, 2 vols., port., 4°. The Authorized Life of 
James McNeill Whistler.—Elizabeth Robins and J-seph Pennell. 

Heretics, London, 1909, 12°, pp. 234-246. On the Art of Whistler—Gilbert 

. Chesterton. 

Houghton Mifflin Co., Boston and New York. Whistler—American Por- 
traits.—Gamaliel Bradford. 

Idler, vol. 23. pp. 658-666. Whistler—Elbert Hubberd. 

International Quarterly, vol. 10, Noe 1, pp. 156-164. The Whistler I Knew. 
—Harper Pennington. 

International Studio, vol. 20, pp. 237-245. Whist!er: His Art and Influence. 
—A. L. Baldry 

International Studio, New York, 1904, vol. 21, pp. 210-218. A Few of the 
Various Whist'ers I Have Known.—G. H. Boughton. 

International Studio, New York, 1903, vol. 20, p. cliii-clvi. Whistler.— 
Charles H. Caffin. 

International Studio, vol. 25, pp. 224-232. The International Society’s 
Whistler Exhibition. 

International Studio, New York, 1904, vol. 20, pp. 245-257. Reminiscenc-s 
of Whistler—Dorothy Menpes. 

International Studio, New York, 1905, vol. 25, pp. 237-241. Reminiscences 
of the Whistler Academy.—Mary Augusta Mulliken. 

International Studio, New York, 1921, vol. 72, pp. cv-cxiii, 4°. The Forty 
Undiscovered Whistlers—Joseph Pennell. 

International Studio, vol. 21, pp. 97-107. Reminiscences of Whistler—Some 
Venice Recollections—William Scott. 

International Studio, vol. 21, pp. 3-10. The Oil Painting of Whistler.— 
Oswald Sickert. ; 

Kunst F, Alle, Jahrg. 22, pp. 201-216, Whistler.—Albert Dreyfus. 


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